Inmythology,folklore andspeculative fiction,shapeshifting is theability to physically transform oneself through unnatural means. The idea of shapeshifting is found in the oldest forms oftotemism andshamanism, as well as the oldest existent literature andepic poems such as theEpic of Gilgamesh and theIliad. The concept remains a common literary device in modernfantasy,children's literature andpopular culture. Examples of shapeshifters arevampires andwerewolves.
Popular shapeshifting creatures in folklore arewerewolves andvampires (mostly of European, Canadian, and Native American/early American origin),ichchhadhari naag (shape-shifting cobra) of India, shapeshifting fox spirits of East Asia such as thehuli jing of China, theobake of Japan, the Navajoskin-walkers, and gods, goddesses and demons and demonesses such as theNorseLoki or theGreekProteus. Shapeshifting to the form of awolf is specifically known aslycanthropy, and creatures who undergo such change are called lycanthropes. It was also common for deities to transform mortals into animals and plants.
The prefix "were-" comes from the Old English word for "man".
While the popular idea of a shapeshifter is of a human being who turns into something else, there are numerous stories about animals that can transform themselves as well.[1]
Examples of shapeshifting inclassical literature include many examples inOvid'sMetamorphoses,Circe's transforming ofOdysseus' men topigs inHomer'sThe Odyssey, andApuleius's Lucius becoming adonkey inThe Golden Ass.Proteus was known among the gods for his shapeshifting; bothMenelaus andAristaeus captured him to obtain information, and they succeeded only by holding on through his many transformations.Nereus toldHeracles where to find the Apples of theHesperides for the same reason.
TheOceanidMetis, the first wife of Zeus and the mother of the goddess Athena, was believed to be able to change her appearance into anything she wanted. In one story, her pride led Zeus to trick her into transforming into a fly. He then swallowed her because he feared that he and Metis would have a son who would be more powerful than Zeus himself. Metis, however, was already pregnant. She stayed alive inside his head and built an armor for her daughter. The banging of her metalworking made Zeus have a headache, so Hephaestus clove his head with an axe. Athena sprang from her father's head, fully grown, and in battle armor.
InGreek mythology, the transformation is often a punishment from the gods to humans who crossed them.
While the Greek gods could use transformation punitively – such asMedusa, who turned to a monster for having sexual intercourse (raped in Ovid's version) withPoseidon inAthena's temple – even more frequently, the tales using it are of amorous adventure. Zeus repeatedly transformed himself to approach mortals as a means of gaining access:[2]
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Vertumnus transformed himself into an old woman to gain entry toPomona's orchard; there, he persuaded her to marry him.
In other tales, the woman appealed to other gods to protect her from rape, and was transformed (Daphne into laurel,Corone into a crow). Unlike Zeus and other gods' shapeshifting, these women were permanently metamorphosed.
In one tale,Demeter transformed herself into a mare to escapePoseidon, but Poseidon counter-transformed himself into a stallion to pursue her, and succeeded in the rape.Caenis, having been raped byPoseidon, demanded of him that she be changed to a man. He agreed, and she becameCaeneus, a form he never lost, except, in some versions, upon death.
Clytie was a nymph who loved Helios, but he did not love her back. Desperate, she sat on a rock with no food or water for nine days looking at him as he crossed the skies, until she was transformed into a purple, sun-gazing flower, theheliotropium.
As a final reward from the gods for their hospitality,Baucis and Philemon were transformed, at their deaths, into a pair of trees.
Eos, the goddess of the dawn, secured immortality for her lover theTrojan princeTithonus, but not eternal youth, so he aged without dying as he shriveled and grew more and more helpless. In the end, Eos transformed him into acicada.
In some variants of the tale ofNarcissus, he is turned into anarcissus flower.
Sometimes metamorphoses transform objects into humans. In the myths of bothJason andCadmus, one task set to the hero was to sowdragon's teeth; on being sown, they would metamorphose into belligerent warriors, and both heroes had to throw a rock to trick them into fighting each other to survive.Deucalion andPyrrha repopulated the world after a flood by throwing stones behind them; they were transformed into people.Cadmus is also often known to have transformed into a dragon or serpent towards the end of his life.Pygmalion fell in love withGalatea, a statue he had made.Aphrodite had pity on him and transformed the stone into a living woman.
Fairies,witches, andwizards were all noted for their shapeshifting ability. Not all fairies could shapeshift, some having only the appearance of shapeshifting, through their power, called "glamour", to create illusions, and some were limited to changing their size, as with thespriggans, and others to a few forms.[3] But others, such as theHedley Kow, could change to many forms, and both human and supernatural wizards were capable of both such changes, and inflicting them on others.[4]
Witches could turn into hares and in that form steal milk and butter.[5]
Many British fairy tales, such asJack the Giant Killer andThe Black Bull of Norroway, feature shapeshifting.
Pwyll was transformed byArawn into Arawn's shape, and Arawn transformed himself into Pwyll's so that they could trade places for a year and a day.
Llwyd ap Cil Coed transformed his wife and attendants into mice to attack a crop in revenge; when his wife is captured, he turns himself into three clergymen in succession to try to pay a ransom.
Math fab Mathonwy andGwydion transform flowers into a woman namedBlodeuwedd, and when she betrays her husbandLleu Llaw Gyffes, who is transformed into an eagle, they transform her again, into an owl.
Gilfaethwy rapedGoewin,Math fab Mathonwy's virgin footholder, with help from his brotherGwydion. As punishment, Math turned them into different types of animals for one year each. Gwydion was transformed into a stag, sow, and wolf, and Gilfaethwy into a hind, boar, and she-wolf. Each year, they had a child. Math turned the three young animals into boys.
Gwion, having accidentally takenthe wisdom from a potion thatCeridwen was brewing forher son, fled from her through a succession of changes, which she answered with changes of her own. This ended when he turned into a grain of corn and she turned into a hen and ate him. She became pregnant, and he was reborn as a baby. He grew up to be the bard Taliesin. In theBook of Taliesin, he mentions many forms which he is able to take, including that of lantern-light.
Tales abound about theselkie, a seal that can remove its skin to make contact inhuman guise with people for only a short amount of time before it must return to the sea. Clan MacColdrum ofUist's foundation myths include a union between the founder of the clan and a shape-shifting selkie.[6] Another such creature is the Scottish selkie, which needs its sealskin to regain its form. InThe Great Silkie of Sule Skerry the (male) selkie seduces a human woman. Such stories surrounding these creatures are usually romantic tragedies.
Scottish mythology features shapeshifters, which allows the various creatures to trick, deceive, hunt, and kill humans. Water spirits such as theeach-uisge, which inhabit lochs and waterways in Scotland, were said to appear as a horse or a young man.[4] Other tales includekelpies who emerge from lochs and rivers in the disguise of a horse or woman to ensnare and kill weary travelers.Tam Lin, a man captured by the Queen of the Fairies is changed into all manner of beasts before being rescued. He finally turned into a burning coal and was thrown into a well, whereupon he reappeared in his human form. The motif of capturing a person by holding him through all forms of transformation is a common thread infolktales.[7]
Perhaps the best-knownIrish myth is that ofAoife who turned her stepchildren, theChildren of Lir, into swans to be rid of them. Likewise, in theTochmarc Étaíne,Fuamnach jealously turnsÉtaín into a butterfly. The most dramatic example of shapeshifting in Irish myth is that ofTuan mac Cairill, the only survivor ofPartholón's settlement of Ireland. In his centuries-long life, he became successively a stag, a wild boar, a hawk, and finally a salmon before being eaten and (as in the Wooing of Étaín) reborn as a human.
ThePúca is a Celtic faery, and also a deft shapeshifter. He can transform into many different, terrifying forms.
Sadhbh, the wife of the famous heroFionn mac Cumhaill, was changed into a deer by the druidFer Doirich when she spurned his amorous interests.
There is a significant amount of literature about shapeshifters that appear in a variety of Norse tales.[8]
In theLokasenna,Odin andLoki taunt each other with having taken the form of females and nursing offspring to which they had given birth. A 13th-centuryEdda relates Loki taking the form of amare to bear Odin's steedSleipnir which was the fastest horse ever to exist, and also the form of a she-wolf to bearFenrir.[9]
Svipdagr angeredOdin, who turned him into a dragon. Despite his monstrous appearance, his lover, the goddessFreyja, refused to leave his side. When the warrior Hadding found and slew Svipdagr, Freyja cursed him to be tormented by a tempest and shunned like the plague wherever he went.[citation needed] In theHyndluljóð, Freyja transformed her protégéÓttar into a boar to conceal him. She also possessed a cloak of falcon feathers that allowed her to transform into a falcon, which Loki borrowed on occasion.
TheVolsunga saga contains many shapeshifting characters.Siggeir's mother changed into a wolf to help torture his defeated brothers-in-law with slow and ignominious deaths. When one,Sigmund, survived, he and his nephew and sonSinfjötli killed men wearing wolfskins; when they donned the skins themselves, they were cursed to becomewerewolves.[10]
The dwarfAndvari is described as being able to magically turn into apike.Alberich, his counterpart inRichard Wagner'sDer Ring des Nibelungen, using theTarnhelm, takes on many forms, including a giant serpent and a toad, in a failed attempt to impress or intimidate Loki and Odin/Wotan.
Fafnir was originally a dwarf, a giant, or even a human, depending on the exact myth, but in all variants, he transformed into a dragon—a symbol ofgreed—while guarding his ill-gotten hoard. His brother,Ótr, enjoyed spending time as an otter, which led to his accidental slaying by Loki.
InScandinavia, there existed, for example, the famous race of she-werewolves known by the name of Maras, women who took on the appearance of huge half-human and half-wolf monsters that stalked the night in search of human or animal prey. If a woman gives birth at midnight and stretches the membrane that envelopes the child when it is brought forth, between four sticks and creeps through it, naked, she will bear children without pain; but all the boys will beshamans, and all the girls Maras.[citation needed]
TheNisse is sometimes said to be a shapeshifter. This trait also is attributed toHulder.
Gunnhild, Mother of Kings (Gunnhild konungamóðir) (c. 910 – c. 980), a quasi-historical figure who appears in theIcelandic Sagas, according to which she was the wife ofEric Bloodaxe, was credited with magic powers – including the power of shapeshifting and turning at will into a bird. She is the central character of the novelMother of Kings byPoul Anderson,[11] which considerably elaborates on her shapeshifting abilities.
In theFinnish epic poemKalevala of ancient folklore,Louhi, Mistress of the North, attacksVäinämöinen in the form of a giant eagle with her troops on her back as she tries to stealSampo.
InArmenian mythology, shapeshifters include theNhang, a serpentine river monster that can transform itself into a woman or seal, and will drown humans and then drink their blood; or the beneficialShahapet, a guardian spirit that can appear either as a man or a snake.[13]
Philippine mythology includes theAswang, a vampiric monster capable of transforming into a bat, a large black dog, a black cat, a black boar, or some other form to stalk humans at night. The folklore also mentions other beings such as theKapre, theTikbalang, and theEngkanto, which change their appearances to woo beautiful maidens. Also, talismans (called "anting-anting" or "birtud" in the local dialect), can give their owners the ability to shapeshift. In one tale,Chonguita the Monkey Wife,[14] a woman is turned into a monkey, only becoming human again if she can marry a handsome man.
Tatar folklore includesYuxa, a hundred-year-old snake that can transform itself into a beautiful young woman, and seeks to marry men to have children.
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Chinese mythology contains many tales of animal shapeshifters, capable of taking on human form. The most common such shapeshifter is thehuli jing, a fox spirit that usually appears as a beautiful young woman; most are dangerous, but some feature as the heroines of love stories.Madame White Snake is one such legend; a snake falls in love with a man, and the story recounts the trials she and her husband faced.
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InJapanese folkloreobake are a type ofyōkai with the ability to shapeshifting. The fox, orkitsune is among the most commonly known, but other such creatures include thebakeneko, themujina, and thetanuki.
Korean mythology also contains a fox with the ability to shapeshift. Unlike its Chinese and Japanese counterparts, thekumiho is always malevolent. Usually its form is of a beautiful young woman; one tale recounts a man, a would-be seducer, revealed as a kumiho.[15] The kumiho has nine tails and as she desires to be a full human, she uses her beauty to seduce men and eat their hearts (or in some cases livers where the belief is that 100 livers would turn her into a real human).
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InSomali mythologyQori ismaris ("One who rubs himself with a stick") was a man who could transform himself into a "Hyena-man" by rubbing himself with a magic stick at nightfall and by repeating this process could return to his human state before dawn.
ǀKaggen is ademi-urge and folk hero of theǀXam people of southern Africa.[16] He is a trickster god who can shape shift, usually taking the form of apraying mantis but also a bulleland, alouse, a snake, and acaterpillar.[17]
A Pukwudgie is a human-like creature from Wampanoag folklore said to appear and disappear at will, and shapeshift.
Amazon river dolphins are curious and lack of fear of foreign objects,[18] areapex predators,[19] and the male Amazon river dolphins are very physically aggressive during their mating period, particularly around the courtship practice of object carrying.[20][21]
Amazon river dolphins, known by thenatives as theboto, encantados or toninhas, are very prevalent in the mythology of the native South Americans. They are frequently characterized in mythology with superior musical ability, seductiveness and love of sex, resulting in illegitimate children, and attraction to parties. Despite the fact that the Encante are said to come from autopia full of wealth which is also without pain or death, they crave the pleasures and hardships of human societies.[22]
Transformation into human form is said to be rare, and usually occurs at night. The encantado will often be seen running from afesta, despite protests from the others for it to stay, and can be seen by pursuers as it hurries to the river and reverts to dolphin form. When it is under human form, it wears a hat to hide itsblowhole, which does not disappear with the shapeshift.[22]
Besides the ability to shapeshift into human form, encantados frequently wield other magical abilities, such as controlling storms,hypnotizing humans into doing their will, transforming humans into encantados, and inflicting illness, insanity, and even death.Shamans often intervene in these situations.[22]
Along with shapeshifting,kidnapping is also a common theme in such folklore. Encantados are said to be fond of abducting humans with whom they fall in love, children born of their illicit love affairs, or just about anyone near the river who can keep them company, and taking them back to the Encante. The fear of this is so great among people who live near the Amazon River that both children and adults are terrified of going near the water between dusk and dawn, or entering water alone. Some who supposedly have encountered encantados while out in their canoes have been said to have gone insane, but the creatures seem to have done little more than follow their boats and nudge them from time to time.[22] Themyth is suggested to have arisen in part becausedolphin genitalia bear a resemblance to those of humans. Others believe the myth served (and still serves) as a way of hiding the incestuous relations which are quite common in some small, isolated communities along the river.[23]Legend also states that "if a person makes eye contact with an Amazon river dolphin, they will have lifelongnightmares".[24]
TheLigahoo orloup-garou is the shapeshifter ofTrinidad and Tobago's folklore. This unique ability is believed to be handed down in some oldcreole families, and is usually associated withwitch-doctors and practitioners ofAfrican magic.[25][26]
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The name of theNahuel Huapi Lake in Argentina derives from the toponym of its major island inMapudungun (Mapuche language): "Island of the Jaguar (or Puma)", fromnahuel, "puma (or jaguar)", andhuapí, "island". There is, however, more to the word "Nahuel" – it can also signify "a man who bysorcery has been transformed into a puma" (or jaguar).
InSlavic mythology, one of the main godsVeles was a shapeshifting god of animals, magic and the underworld. He was often represented as a bear, wolf, snake or owl.[27] He also became a dragon while fightingPerun, the Slavic storm god.[28]
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Shapeshifting may be used as aplot device, such as whenPuss in Boots in the fairy tales tricks theogre into becoming a mouse to be eaten. Shapeshifting may also include symbolic significance, like the Beast's transformation inBeauty and the Beast indicates Belle's ability to accept him despite his appearance.[33]
When a form is taken on involuntarily, the thematic effect can be one of confinement and restraint; the person isbound to the new form. In extreme cases, such aspetrifaction, the character is entirely disabled. On the other hand, voluntary shapeshifting can be a means of escape and liberation. Even when the form is not undertaken to resemble a literal escape, the abilities specific to the form allow the character to act in a manner that was previously impossible.
Examples of this are infairy tales. A prince who is forced into a bear's shape (as inEast of the Sun and West of the Moon) is a prisoner, but a princess who takes on a bear's shape voluntarily to flee a situation (as inThe She-Bear) escapes with her new shape.[34] In theEarthsea books,Ursula K. Le Guin depicts an animal form as slowly transforming the wizard's mind, so that the dolphin, bear or other creature forgets it was human, making it impossible to change back. This makes an example of a voluntary shapeshifting becoming an imprisoning metamorphosis.[35]Beyond this, the uses of shapeshifting, transformation, andmetamorphosis in fiction are asprotean as the forms the characters take on. Some are rare, such asItalo Calvino's "The Canary Prince" is aRapunzel variant in which shape-shifting is used to gain access to the tower.
In many cases, imposed forms are punitive. This may be a just punishment, the nature of the transformation matching the crime for which it occurs; in other cases, the form is unjustly imposed by an angry and powerful person. In fairy tales, such transformations are usually temporary, but they commonly appear as theresolution of myths (as in many of theMetamorphoses) or produceorigin myths.
In manyfairy tales andballads, as inChild Ballad #44,The Twa Magicians orFarmer Weathersky, a magical chase occurs where the pursued endlessly takes on forms in an effort to shake off the pursuer, and the pursuer answers with shapeshifting, as, a dove is answered with a hawk and a hare with a greyhound. The pursued may finally succeed in escape or the pursuer in capturing.
The Grimm Brothers' fairy taleFoundling-Bird contains this as the bulk of the plot.[36] In the Italian Campania Fables collection ofPentamerone byGianbattista Basile, tells of a Neapolitan princess who, to escape from her father who had imprisoned her, becomes a huge she-bear. The magic happens due to a potion given to her by an old witch. The girl, once gone, can regain her human aspect.
In other variants, the pursued may transform various objects into obstacles, as in the fairy tale "The Master Maid", where the Master Maid transforms a wooden comb into a forest, a lump of salt into a mountain, and a flask of water into a sea. In these tales, the pursued normally escapes after overcomingthree obstacles.[36] This obstacle chase is literally found worldwide, in many variants in every region.[37]
In fairy tales of theAarne–Thompson type 313A, The Girl Helps the Hero Flee, such a chase is an integral part of the tale. It can be either a transformation chase (as inThe Grateful Prince,King Kojata,Foundling-Bird,Jean, the Soldier, and Eulalie, the Devil's Daughter, orThe Two Kings' Children) or an obstacle chase (as inThe Battle of the Birds,The White Dove, orThe Master Maid).[38]
In a similar effect, a captive may shapeshift to break a hold on him.Proteus andNereus's shapeshifting was to prevent heroes such asMenelaus andHeracles from forcing information from them.[39]Tam Lin, once seized by Janet, was transformed by thefaeries to keep Janet from taking him, but as he had advised her, she did not let go, and so freed him.[40] The motif of capturing a person by holding him through many transformations is found in folktales throughout Europe,[7] andPatricia A. McKillip references it in herRiddle-Master trilogy: a shape-shifting Earthmaster finally wins its freedom by startling the man holding it.
One motif is a shape change in order to obtain abilities in the new form.Berserkers were held to change into wolves and bears to fight more effectively. In many cultures, evil magicians could transform into animal shapes and thus skulk about.
In many fairy tales, the hero'stalking animalhelper proves to be a shapeshifted human being, able to help him in its animal form. In one variation, featured inThe Three Enchanted Princes andThe Death of Koschei the Deathless, the hero's three sisters have been married to animals. These prove to be shapeshifted men, who aid their brother-in-law in a variant of tale types.[41]
In anearly Mayan text, the Shapeshifter, or Mestaclocan, can change his appearance and manipulate the minds of animals. In one tale, the Mestaclocan finds a dying eagle. Changing into the form of an eagle, he convinces the dying bird that it is, in fact, not dying. As the story goes they both soar into the heavens and live together for eternity.
Beauty and the Beast has been interpreted as a young woman's coming-of-age, in which she changes from being repulsed by sexual activity and regarding a husband therefore bestial, to a mature woman who can marry.[42]
Some shapeshifters can change form only if they have some item, usually an article of clothing. InBisclavret byMarie de France, a werewolf cannot regain human form without his clothing, but in wolf form does no harm to anyone. However, the most common use of this motif is in tales where a man steals the article and forces the shapeshifter, trapped in human form, to become his bride. This lasts until she discovers where he has hidden the article, and she can flee. Selkies feature in these tales. Others includeswan maidens and the Japanesetennin.
Swedish writerSelma Lagerlöf, inThe Wonderful Adventures of Nils, included a version of the story with the typical elements (fisherman sees mermaids dancing on an island and steals the sealskin of one of them, preventing her from becoming a seal again, so that he could marry her) and linked it to the founding of the city ofStockholm.[43]
The power to externally transform can symbolize an internal savagery; a central theme in many strands ofwerewolf mythology,[44] and theinversion of the "liberation" theme, as inDr Jekyll's transformation into Mr. Hyde.
Some transformations are performed to remove the victim from his place so that the transformer can usurp it.Bisclaveret's wife steals his clothing and traps him in wolf form because she has a lover. A witch, inThe Wonderful Birch, changed a mother into a sheep to take her place, and had the mother slaughtered; when her stepdaughter married the king, the witch transformed her into a reindeer to put her daughter in the queen's place. In the KoreanTransformation of the Kumiho, akumiho, a fox with magical powers, transforms itself into an image of the bride, only being detected when her clothing is removed. InBrother and Sister, when two children flee from their cruel stepmother, she enchants the streams along the way to transform them. While the brother refrains from the first two, which threaten to turn them into tigers and wolves, he is too thirsty at the third, which turns him into a deer.The Six Swans are transformed into swans by theirstepmother,[45] as are the Children of Lir in Irish mythology.
Many fairy-tale characters have expressed ill-advisedwishes to have any child at all, even one that has another form, and had such children born to them.[46] At the end of the fairy tale, normally after marriage, such children metamorphose into human form.Hans My Hedgehog was born when his father wished for a child, even a hedgehog. Even stranger forms are possible:Giambattista Basile included in hisPentamerone thetale of a girl born as a sprig of myrtle, andItalo Calvino, in hisItalian Folktales, a girl born as an apple.
Sometimes, the parent who wishes for a child is told how to gain one but does not obey the directions perfectly, resulting in a transformed birth. InPrince Lindworm, the woman eats two onions but does not peel one, resulting in her first child being alindworm. InTatterhood, a woman magically produces two flowers, but disobeys the directions to eat only the beautiful one, resulting in her having a beautiful and sweet daughter, but only after a disgusting and hideous one.
Less commonly, ill-advised wishes can transform a person after birth.The Seven Ravens are transformed when their father thinks his sons are playing instead of fetching water to christen their newborn and sickly sister, and curses them.[47] InPuddocky, when three princes start to quarrel over the beautiful heroine, a witch curses her because of the noise.
Such wished-for children may become monstrousbrides orbridegrooms. These tales have often been interpreted as symbolically representing arranged marriages; the bride's revulsion to marrying a stranger is symbolized by his bestial form.[48]
The heroine must fall in love with the transformed groom. The hero or heroine must marry, as promised, and the monstrous form is removed by the wedding.Sir Gawain thus transformed theLoathly lady; although he was told that this was halfway, she could at his choice be beautiful by day and hideous by night, or vice versa, he told her that he would choose what she preferred, which broke the spell entirely.[49] InTatterhood, Tatterhood is transformed by her asking her bridegroom why he didn't ask her why she rode a goat, why she carried a spoon, and why she was so ugly, and when he asked her, denying it and therefore transforming her goat into a horse, her spoon into a fan, and herself into a beauty.Puddocky is transformed when her prince, after she had helped him with two other tasks, tells him that his father has sent him for a bride. A similar effect is found inChild ballad 34,Kemp Owyne, where the hero can transform a dragon back into a maiden by kissing her three times.[50]
Sometimes the bridegroom removes his animal skin for the wedding night, whereupon it can be burned.Hans My Hedgehog,The Donkey andThe Pig King fall under this grouping. At an extreme, inPrince Lindworm, the bride who avoids being eaten by the lindworm bridegroom arrives at her wedding wearing every gown she owns, and she tells the bridegroom she will remove one of hers if he removes one of his; only when her last gown comes off has he removed his last skin, and become a white shape that she can form into a man.[1]
In some tales, the hero or heroine must obey a prohibition; the bride must spend a period not seeing the transformed groom in human shape (as inEast of the Sun and West of the Moon), or the bridegroom must not burn the animals' skins. InThe Brown Bear of Norway,The Golden Crab,The Enchanted Snake and some variants ofThe Frog Princess, burning the skin is a catastrophe, putting the transformed bride or bridegroom in danger. In these tales, the prohibition is broken, invariably, resulting in a separation and a search by one spouse for the other.[1]
Ghosts sometimes appear in animal form. InThe Famous Flower of Serving-Men, the heroine's murdered husband appears to the king as a white dove, lamenting her fate over his own grave. InThe White and the Black Bride andThe Three Little Men in the Wood, the murdered – drowned – true bride reappears as a white duck. InThe Rose Tree andThe Juniper Tree, the murdered children become birds who avenge their own deaths. There are African folk tales of murder victims avenging themselves in the form ofcrocodiles that can shapeshift into human form.[51]
In some fairy tales, the character can reveal himself in every new form, and so a usurper repeatedly kills the victim in every new form, as inBeauty and Pock Face,A String of Pearls Twined with Golden Flowers, andThe Boys with the Golden Stars. This eventually leads to a form in which the character (or characters) can reveal the truth to someone able to stop the villain.
Similarly, the transformation back may be acts that would be fatal. InThe Wounded Lion, the prescription for turning the lion back into a prince was to kill him, chop him to pieces, burn the pieces, and throw the ash into the water. Less drastic but no less fatal, the fox inThe Golden Bird, the foals inThe Seven Foals, and the cats inLord Peter andThe White Cat tell the heroes of those stories to cut off their heads; this restores them to human shape.[52] In the Greek tale ofScylla, Scylla's fatherNisus turns into an eagle after death and drowns her daughter for betraying her father.
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